【作者】 石培龙；

【导师】 赵学勇；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2010， 博士

【摘要】 “80后”写作是新世纪之初中国最重要的文学现象。2000年以后,以青春文学为主体的“80后”写作在文学市场取得了辉煌的胜利,韩寒、郭敬明、张悦然等“80后”写手在大众传播媒介的聚焦下,成为万众瞩目的文学明星和财富新贵,“80后”写作由文学事件演化为媒介事件,被景观化。“80后”写作是我国第一波低龄写作潮,是第二媒介时代文化变革的产物。以计算机为基础的互联网颠覆了第一媒介时代的集权主义文化权力格局,为新生文学力量的出场提供了广阔的空间。本论文共分三部分,由绪论、正文和结语构成。“绪论”主要阐述了本研究的选题依据、研究路径以及主要解决的问题。正文共五章,主要阐述了“80后”写作与第二媒介时代的关系,客观分析了第二媒介时代中国文学体制和文学自身的变化。其中,第一章阐述了“80后”写作文学景观的内涵。第一节从麦克卢汉的技术决定论观点出发,揭示波斯特的“第二媒介时代”概念的具体内涵,指出第一媒介时代媒介的技术结构特征与集权主义意识形态相吻合,第二媒介时代媒介的技术结构具有强大的分散权力的潜力,与自由民主的意识形态相吻合。并具体分析中国传统媒介管理体制的特征及其与传统文化格局的关系,考察互联网技术结构特征对中国文化格局的冲击,指出互联网赋予每个人大众传播的能力,颠覆了中国传统文化权力格局。第二节将“80后”写作置于第二媒介时代的大背景下,指出“80后”写作是媒体文化景观现象,其所依托的精神资源是互联网所赋予的自由精神,主流文坛与“80后”的冲突是第一媒介时代集权主义意识形态与第二媒介时代自由民主意识形态冲突的结果。第二章考察了“80后”写作现象的基本面貌。首先系统考察“80后”命名纷争,着重解析了“80后”特有的内涵,指出“80后”和“80后”写作现象是中国特有的文化现象,“80后”写作具有断裂性质。其次梳理了“80后”写作的历史及其相对应的三副面孔：以韩寒、春树为代表,以愤怒、反叛为精神底色的愤青阶段；以郭敬明、张悦然为代表,以忧伤为基调的忧伤的孩子阶段；以六道、玄雨为代表,以游戏为核心的游戏的写手阶段。第三章分析了第二媒介时代文学生产问题。第一节认为“80后”写作体现了后现代文化的游戏本质,进而从文学与游戏的关系出发,指出游戏精神是文学创作最重要的精神背景。然后梳理了市场和互联网在“80后”建立“文学游戏场”过程中的作用,指出市场是游戏的文学最坚实的经济基础,自由的互联网则是其最重要的精神保障。第二节将文学生产和作家主体意识的核心——“成名想象”置于中国文学环境演变的大背景下,从历史发展角度考察了“80后”写作中“成名想象空间”的形成和发展过程。指出改革开放前,政治是“成名想象空间”的主导力量,改革开放后中国政治意识形态中文学地位和功能的边缘化导致了市场在文学权力场中的渗透,互联网将市场的力量发挥到极致,确立了第二媒介时代市场主导、全民参与的文学“成名想象空间”的形成。第四章以“80后”写作为基础分析了第二媒介时代文学经典的命运。首先考察了电子媒介时代国内外关于文学经典问题的理论纷争,指出这场纷争是第一媒介时代向第二媒介时代过渡之际文学经典危机的反映,然后从技术主义观点出发,分析了作为经典艺术根基的理性自律主体、意识形态根基的精英主义文化权力与传播媒介的关系,以及媒介自身权威性特质的变化对经典化过程的影响,得出文学经典体系是第一媒介时代的产物,第二媒介时代是文学经典的黄昏的结论。第五章全面考察了“80后”写作的主要读者“80后”社会化的过程,重点分析了影响“80后”阅读视域的主要社会因素。1980年代的“读书热”和“知识改变命运”的时代梦想到“80后”那里变成了千军万马挤高考独木桥的局面,在应试教育模式下,中小学教育发生畸变,审美的文学教育与“80后”无关。电视是影响“80后”社会化的重要因素,由于中国动漫事业的失败,日韩动漫成为“80后”重要的精神食粮,直接影响了“80后”写作和阅读；电视还造成“80后”时尚化的消费心理,导致“80后”阅读中的偶像崇拜现象。改革开放后中国阅读资源的极大丰富没有改变中国儿童文学创作不适应儿童阅读心理的局面,“80后”是读书盛宴下的一代文学饥民；“80后”写作以青少年写青少年为特征的“青春文学”改变了成年人为青少年创作的传统儿童文学和少年文学的格局,满足了“80后”自我认同的阅读需要,消费权力和互联网造就的“‘80后’新部落”是“80后”写作最重要的消费群体。“结语”重申了本文的主旨,指出文学是自由的事业,文学是多样性的。“80后”写作是互联网推动的中国文化民主或文学自由的标志,这是它的意义之所在；“80后”写作本身具有多样性,不仅能够开创大众文学的新局面,也能承担高雅文学传承发展的历史重任。更多还原

【Abstract】 The 80’s literature is the most important literary phenomenon in China at the beginning of 21st century. After 2000, the 80’s literature with the theme of youth has made great achievements in literary market. When such writers born in 1980s as Han Han, Guo Jingming, Zhang Yueran have become eye-catching literary stars or new millionaires, when the 80’s literature has evolved from a literary event to a media event, there appeared a spectacle in our society. The 80’s literature is the first writing trend of youngsters and the product of the cultural reform in the second media age. The Internet, which is based on computers, has overthrown the cultural power pattern in the first media age and made wide space for the appearance of a new literary force.This dissertation consists of three parts, including the introduction, the body part and the conclusion.In the introduction, the author points out the foundations of choosing the subject, research methods and the problems the author tries to solve.The body part is made up of five chapters, which focus on the relationship between the second media age and the 80’s literature, the objective analysis of Chinese literature’s system as well as the it’s change in this age.The first chapter explains the meanings of the spectacle of 80’s literature. Based on McLuhan’s technological determinism, section one reveals the specific meanings of Poster’s conception of The Second Media Age, and indicates that the media’s technological feature in first media age is in agreement with the ideology of centralization, and that in the second media age it has a strong potential of decentralization in agreement with democratic ideology; also, it analyzes the features of Chinese traditional managing system of media and its relationship with traditional Chinese cultural situation, examines the impact of structural technology features on Chinese cultural situation, and then shows that the Internet entitled everyone to public media, which overthrew Chinese cultural situation. The second section of this chapter deals with the 80’s literature in the background of second media age. It is pointed out that the 80’s literature is a phenomenon of spectacle under the media culture, whose spiritual resources owe to the freedom given by Internet. Then the conflicts of mainstream literature with the 80’s literature resulted from the collision of centralization in the first media age with the democratic ideology in the second media age.Chapter two explores the general view of the 80’s literature. Firstly, it systematically examines the debates on naming those who were born in 1980s. Mainly analyzing the specific meaning of the 80s, the author points out that the 1980s as well as their writing is a typical cultural phenomenon in China and the 80’s literature lacks continuity. Secondly, it summarizes the history of the 80’s writing and their corresponding "three faces":angry and rebellious faces in the first stage, where Han Han and Chun Shu stand for the background spirit; sad faces in the second stage, where Guo Jingming and Zhang Yueran set the basic tone; game faces in the third stage, where the writers center on games, and the typical writers are Liu Dao and Xuan Yu.The third chapter analyses the literature production in the second media age. In the first section, the 80’s literature is believed to reflect the game’s essence of the post-modern culture, and then the game spirit is admitted as the most important spiritual background for creation from the point of the relationship between literature and game. Also, the author points out that game literature is based on market economically and internet spiritually by summarizing the roles the market and Internet play in the establishment of "Literature and Game Field". The second section historically explores the formation and development of the "Imaginative Space for Fame" of 80’s literature in Chinese literature background, which is the centre of literature production and writer’s subject consciousness.The author thinks that politics act as the leading force of the "Imaginative Space for Fame" before Reform and Open-up Policy. Later, the status and function of literature has marginalized in Chinese Political Ideologies, which made the market find its way in the "Literature’s Right Field" and consequently its power was exerted perfectly by Internet. This situation helped the establishment of the "Imaginative Space for Fame" in second media age, in which the market plays the leading role and everybody can participate.Chapter four analyzes the fate of literature classics on the basis of the 80’s literature. Firstly, it examines the theoretical discussions on literature classics in the electronic media’s age and points out that the discussions show the crisis of literature classics in the transitional period of the first media age and the second media age. Then, from the technological view, the author analyzes the relationship between the subjects of rational discipline as the basis of classical arts, elitism cultural rights as the basis of ideologies and communicating media as well as the influences the change of media’s prominent features had on the process of being classical, reaching a conclusion that the system of literature classics is the product of the first media age, while literature classics will come to an end in the second media age.The fifth chapter systematically examines the major readers and the process of socialization of the 80’s literature, mainly focusing on its Reading Horizons as well as its major social factors. "Reading Craze" in 1980 and the dream "Knowledge Changes Fate" becoming the situation in which numerous students crowded onto the lone-plank bridge of College Entrance Examination, aesthetic education about literature seemed to have nothing to with 1980s under the exam-oriented system. TV resulted in the socialization of 1980s due to the fact that the motion pictures and cartoons made in Japan and Korea became the main spiritual food for 1980s after China’s failure in this field, which had a direct effect on their writing and reading. Also, TV led to modern consumer psychology and the phenomenon of Idol Worship in their reading. After Reform and Open-up Policy, the rich reading resources didn’t improve the situation in which the creation of children literature couldn’t adjust to children’s reading psychology. As a result,1980s fell down to the "hungry tramp" in the "reading banquet". Fortunately, one aspect of the 80’s literature, the youth literature created by young writers has changed the situation in which adults created traditional works for children and youngsters, accordingly it met the reading need of self-identity. Therefore, the majority of 80’s literature’s consumers undoubtedly fell on the new "tribe" of 1980s, who were created by the consumption rights and Internet. The conclusion part makes the restatement that literature, as the career of freedom, represents the diversity. The 80’s literature driven by Internet is the symbol of Chinese cultural democracy or the freedom in literature field, which its significance lies in. The diversity of the 80’s literature not only can start a new situation in mass literature, but also can bear the responsibility for the inheritance and development of elegant literature.更多还原